possessing a variety, harmony, and beauty, that have induced many poets to extol it as a wonderful production. His cabinet pictures of conversations and rural festivals, which are not rare at Lucca, are exquisite. Two, of the Massacre of Valdestain, belonging to the Orsetti family, were especially commended by Baldinucci. The historian remarks that he had a particular talent for such tragic themes, and in general for the energetic; he admires him less in the delicate, and even accuses him of marking the action of his female figures too strongly. That he could however be very pleasing when he inclined, we are led to believe from his large work in the church of the Trinity; which he is said to have conducted in this graceful style, to demonstrate that he was not inferior to his rival Biancucci.
It is uncertain whether Pietro Testa, called at Rome Il Lucchesino, was his disciple; but it appears highly probable, when his age is compared with that of Paolini, that he learnt from the latter the principles of the art, which he had undoubtedly acquired in Lucca before he came to Rome. He there had several masters, and was chiefly under Pietro da Cortona, from whose school he was expelled, because he treated the maxims of the master with contempt. He then put himself under Domenichino, on whose principles, says Passeri, he gloried to rely; but his style, in his own despite, at times approaches nearly to that of Cortona. He has also some resemblance to his friend Poussin, both in his figures (which at one time he made too slender), in his landscapes, and in his study of the antique, of which he was deeply enamoured; having applied himself to designing the finest specimens in architecture and in sculpture that Rome afforded. In this branch he is excellent. The death of B. Angelo, placed in S. Martino a' Monti, a picture of great force, is the only piece before the public. Testa is more frequently recognized in galleries: there is a Joseph sold to the Ishmaelites by him in the capitol; a Murder of the Innocents, in the Spada palace; but there are not many of his pictures elsewhere; for he engraved more than he painted.[221] He left some oil paintings at Lucca, one in a feeble style at S. Romano, several at S. Paolino, in the Buonvisi gallery, and in other places, in his best manner. Two of his works in fresco remain there; viz. the allegorical picture of Liberty in the senate house, and the small very elegant cupola of the oratory in the Lippi palace. He settled at Rome, where he lived unhappily, and either from despair, or some affront, drowned himself in the Tiber. His fate may teach young artists of genius not to overrate their own talents, nor to despise those of others. By these failings, Testa alienated the minds of his contemporaries, so that neither in reputation nor in employment was he so successful as many others; and his perpetual complaints occasioned doubts even of his sanity.
Omitting some scholars of Paolini less addicted to his manner, we shall notice the three brothers, Cassiano, Francesco, and Simone del Tintore. I find nothing recorded of the first that exalts him above mediocrity; and when one meets with an indifferent picture of the school of Paolini, it is ascribed to Cassiano, or some such pupil; or sometimes to the dotage of Paolini, when he produced sketches rather than paintings. Francesco is recognized as an able artist in the Visitation, in the apartments of his excellency the Gonfaloniere; and in some pieces in the Motroni collection. Simone was expert in depicting birds, fruit, and other objects in the inferior walks of the art, to which, as I usually do at the end of each epoch, I shall here devote a few pages.
And to pursue this pleasing branch of painting, I may observe that Angiol Gori and Bartolommeo Bimbi of Florence, distinguished themselves in fruit, and more especially in flowers: the second was the scholar of the first in this line, and of Lippi in figures. Lippi himself induced Andrea Scacciati to abandon figures for fruit and flowers, and animals, in which department he succeeded well, and sent many pictures into foreign countries. Bimbi was the Mario of his school. He instructed Fortini, whom we shall notice by and by along with Moro, a painter of flowers and animals. All these gave place to Lopez of Naples, who visited Florence in his journeys through Italy, and shall be afterwards mentioned.
The art of painting landscapes, and their introduction into collections, began during this epoch: the first style that became fashionable at Florence was that of Adriano Fiammingo: but Cristofano Allori excelled all by the neat and firm touch of his pencil, and by the exquisite figures which he introduced into his landscapes. Guasparre Falgani surpassed him in the number of such subjects: he was initiated in the art by Valerio Marucelli, and imitated by Giovanni Rosi, and Benedetto Boschi, the brother and fellow student of Francesco. The landscapes of this age have often their greens changed into black; and are reckoned of the old school by Baldinucci. The new style was introduced into Florence by Filippo d'Angeli, or Philip the Neapolitan, who was long retained at the court of Cosmo II; but chiefly by Salvator Rosa. This artist was brought to Florence by Cardinal Gio. Carlo, and remained there for seven years; where in the capacity of painter, poet, and author of comedies, he was constantly applauded for his fine genius, and his society courted by men of learning; with whom, in every department of letters, the country then abounded. He formed no pupils at that place, but many young men there became his copyists and imitators; as Taddeo Baldini, Lorenzo Martelli, and many others. Antonio Giusti, a pupil of Cesare Dandini, was particularly skilled in this art; but he likewise practised every other branch of painting; and Orlandi has described him as an universal painter. Signor da Morrona notices the Poli, two brothers, who executed many pleasing landscapes, which are known in the collections of Florence and of Pisa.
Passing from landscape to sea-views, I do not find any Tuscan who in this respect equalled Pietro Ciafferi, otherwise called Lo Smargiasso,[222] and recorded among the Pisan artists. It is said that he resided long at Leghorn, a place well suited to his genius. He there decorated façades of houses with disembarkations and naval enterprizes; and of such subjects, ports, sea-coasts, and ships, he composed oil paintings, that are usually highly finished, and ornamented with small figures, well designed and fancifully draped. He likewise succeeded greatly in architectural views. Leghorn and Pisa are rich in his easel pictures; and one in possession of Sig. Decano Zucchetti of this place bears the name of the artist and the date 1651.
Perspective was much cultivated at Florence about this period; and the Bolognese had carried it to a degree of excellence, that will claim attention in the proper place. Lessons in it were given by Giulio Parigi, an excellent architect; and afterwards by Baccio del Bianco, who became engineer to his Catholic Majesty Philip IV. Their theoretic views were seconded by the example of Colonna, who came to Florence in 1638, along with Mitelli, a native of that place, and remained six years in the service of the court. After this period Florence produced many painters of cabinet pieces, and in the ornamental line, or rather a new school of painting was founded by Jacomo Chiavistelli, a painter of sound and more chaste taste than was common in that age. One may form an idea of him in several churches, and in many saloons in the city; as for instance, in that of the Cerretani palace, which is among his most elegant works. He likewise painted for cabinets, where his perspective pieces are frequently to be met with. Orlandi notices his most considerable pupils, Rinaldo Botti, and his cousin Lorenzo del Moro,[223] Benedetto Fortini, and Giuseppe Tonelli, who also studied at Bologna. To these may be added, Angiol Gori, Giuseppe Masini, and others who assisted him about 1658, in painting the corridore of the ducal gallery, which is not their best performance. I find in the anecdotes of Mondina and Alboresi, edited by Malvasia, that Antonio Ruggieri contended with them in Florence: he was, I believe, a scholar of Vannini, and a S. Andrew by him exists in the church of S. Michele, in Berteldi, now commonly called S. Gaetano. Nor were these the only artists capable of introducing figures into their perspective pieces; but a great many of the painters in fresco were, if we may say so, ambidexter, for each could paint perspectives and figures at the same time.
Portrait painting, the school of the best artists who aspire to fidelity of representation, was greatly promoted by Passignano, who instructed Filippo Furini, surnamed Sciameroni, the father of the celebrated Francesco. He also taught the art to Domenico and Valore Casini, two brothers celebrated by Baldinucci: Valore was remarkable for a free pencil, and was a faithful copyist of every lineament. The capital is filled with his portraits. Cristofano Allori painted portraits, both on commission and for exercising his hand in the delineation of the most beautiful forms. His portraits on canvass are
